

Popular Folk Games 
and Dances 


By MARS RUEF HOFER 



For Playground, Vacation School, and Schoolroom Use 

HIS book contains forty-two of the Popular Folk Games 
and Dances of the different nations. They have been 
gathered from many interesting and original sources, 
and are intended to supplant the games which are often 
played by children as a result of lack of interest or help 
from the teacher, or for w r ant of better material. They 
are, too, of great educational value in connection W'ith 
£he Study of Folk Lore, Traditions, and Customs of the Past 
and in forming a better opinion of the national characteristics and traits 
of the vast numbers of foreigners who make up our own population. In 
the beautiful Winding Games, we get a glimpse of a Pagan past, as well 
as the Middle Ages. The Knight and Bridge Games present episodes 
of Feudalism and the days of Chivalry. In the Industrial Games we 
touch the Guild life of Europe. In the picturesque National Dance 
we can meet half way the little stranger within.our gates, not only 
with the latest gymnastic device, but an appreciation of what must 
stand to him for centuries of national worth.. 

Children of all ages w T ill delight in performing the games as they are 
played in other lands. Music and full instructions. 

48 large pages. Price, 75 cents. 


Children’s Old and New 
Singing Games 


By MARI RUEF HOFER 



CHARMING collection of old and new singing games 
for school yards, kindergartens, and. primary grades. 
There are forty singing games, all of which can be used in 
vacation schools, play-ground work, the school, and the 
home. Each game has a distinct reason for being. 
Besides the elements of interest supplied in repetition, 
rhyme, gesture., choosing, counting, etc., the singing 
game provides the dramatic situation so dear to the child heart. 

Also the aesthetic elements of song and rhythm have become valu¬ 
able in the making for the control and courtesy so much needed in the 
free play of childhood. The plays and games embrace a wide variety. 
We give names of a few only: Marching Game, Imitation and Gesture, 
Chasing, Catching, Imitation, Choosing, Representing, Competition, 
Counting, Winding, Color, Courtesy, Festival March, Hunting and 
Catching, etc., etc. 

Forty-four large pages Illustrated. Price, 50 cents. 

Our large Educational Book Catalogue is yours for the asking 

A. FLANAGAN COMPANY :: CHICAGO 
































GAMES, DRILLS 

AND 

PARTIES 


By 

MAUD INEZ WHEELER 


1923 

A. FLANAGAN COMPANY 
CHICAGO 


GVi+t 

yVs-z. 

COPYRIGHT, 1923, BY A. FLANAGAN COMPANY 







PRINTED IN THE UNITED STATES OF AMERICA 


OCT 15 ’23 

© C1A761276 




Dedicated to all who are endeavoring to raise the 
standard of the Community social life. 


4 


THE COMMUNITY 


PREFACE 

& 


In this book will be found material that will aid 
in arranging practically any social event that could 
be held at the social center of the community. It 
will be found especially helpful to teachers, 
Y. W. C. A. workers, and social leaders of the 
church. The majority of these plans have been 
worked out either in church or school life. The 
parties for the large groups were planned and 
used by a very large Bible class for young women. 

With the aid of these plans, it is felt, the social 
leader of the community will be able to evolve 
many more ideas which will help to make the 
community spirit stronger and the community life 
more interesting. 

The realization on the part of the author of 
the importance of a good, strong, clean social 
atmosphere in the community is the motive that 
has prompted the preparation of this little book. 
The development of this atmosphere is particu¬ 
larly needed in rural communities where the 
young people are constantly leaving their homes 
for the lure of the larger civic center with its 
bustle and noise and its varied attractions for the 
leisure hours. Hence, the large amount of ma¬ 
terial that is adaptable to rural life. A large 
number of the selections given here can be pro¬ 
duced in the school, the church, the grange, 
or whatever unit is used as the social center of 
the community. At the same time, there are the 
parties and some other features that were d$- 



SOCIAL CENTER 


5 


signed mainly for the large group. These will be 
found even more useful in the larger center. So 
it will be seen that there is something in this book 
that should interest the social worker in the com¬ 
munity whatever its size or location. 

Care has also been taken to include material in 
which people of all different ages in life can take 
part. The “Wheel Drill” and “Her Alphabet” 
takes in very small children as does also “The 
Nurse Maids’ Drill.” “Our Country” admits of 
older characters as well as young ones. By far 
the greater amount of material, however, is for 
the young people from ten years old up. 

Grateful acknowledgment is made to the many 
sources that have aided me in collecting and 
arranging the material for this work; to the 
Cable Company for the use of the two games, 
“Carousal” and “The Jolly Miller” from “The 
Everyday Song Book” to “Comfort” magazine 
for a “Christmas Wail” and “Waking Up”; 
Dodge Pub. Co. for “The Moo Cow Moo”; to my 
father who in his earlier days wrote “Answering 
an Advertisement for a Servant”; to my sister, 
Angie, whose memory furnished many of the 
humorous selections; to the Burrall Class, of 
Washington, D. C., who furnished the material 
for the larger parties; to Miss Gertrude Breit- 
haupt, Instructor of English, North Division High 
School, Milwaukee, and Ira M. Jones, Attorney, 
for valuable assistance rendered in reading 
the manuscripts; to Florence Boltz for making 
corrections in the music to “Upside Down” and 
“Wouldn’t You Have to Laugh?”; and to the 
many others who have furnished ideas or sugges¬ 
tions. 



6 


THE COMMUNITY 


Index 

Page 

Anniversary Party, The . 62 

Answering An Advertisement For a Servant. 47 

“At Home,” The . 66 

Awful Luck! A Christmas Wail. 37 

Beast, Bird, or Fish. 46 

Call Ball . 42 

Carrousel . 42 

Christmas Party, The. 71 

Circus, The. 76 

Friendship Circle. 46 

General Suggestions . 96 

“Get Acquainted Party,” The . 65 

Ghost March, The. 22 

Giving a Mardi Gras. 79 

Going to New Orleans . 43 

He Loved His Glass. 33 

Her Alphabet. 27 

Johnny’s History Lesson. 26 

Johnny’s History Lesson, Encore for. 28 

Jolly Is The Miller . 40 

“Kitty’s Christmas”. 36 

Living Christmas Tree, The. 11 

Meanest Man, The. 25 

Money Getter, A . 84 

Moo Cow Moo, The. 34 

Murder in Chinatown, A . 10 

Nurse Maids’ Drill, The. 19 

“Our Country”. 52 

Our Mothers . 94 

Pageant of Dances, The. 82 

Plan for a School Fair. 77 

Preface .. 4 

Rainbow Banquet, The. 75 



































SOCIAL CENTER 


7 


Page 

Rose Drill, The .... 14 

Scamp And The Gardener . 44 

Snow Storm, The. 28 

Society Dinner Dance, The. 69 

Star Drill, The. 16 

“Susie’s Kitchen Band”. 9 

Thanksgiving Day Introspection, A. 35 

Union Station. 72 

Upside-Down . 86 

“Waking Up!”. 29 

Wheel Drill, The. 13 

Wouldn’t You Have to Laugh?. 89 

Wouldn’t You Have to Laugh? (Song). 92 

Yankee Doodle Polka . 45 


Index 

CLASSIFIED 

DRILLS: 

Ghost March, The. 22 

Nurse Maids’ Drill, The. 19 

Rose Drill, The . 14 

Star Drill, The. 16 

Wheel Drill, The. 13 

GAMES: 

Beast, Bird, or Fish. 46 

Call Ball. 42 

Carrousel . 42 

Drop the Handkerchief. 74 

Friendship Circle. 46 

Going to New Orleans . 43 

Jolly Is The Miller . 40 

Yankee Doodle Polka. 45 






























8 


THE COMMUNITY 


MISCELLANEOUS: 

General Suggestions.*. 96 

Living Christmas Tree, The. 11 

Murder in Chinatown, A . 10 

“Susie’s Kitchen Band” . 9 

PARTIES: 

Anniversary Party, The . 62 

“At Home,” The . 66 

Christmas Party, The . 71 

“Get Acquainted Party,” The. 65 

Rainbow Banquet, The . 75 

* Society Dinner Dance, The. 69 

Union Station. 72 

PLAYS AND DIALOGUES: 

Answering An Advertisement For a 

Servant . 47 

“Our Country”. 52 

PROGRAMS AND ENTERTAINMENTS: 

Circus, The. 76 

Giving a Mardi Gras. 79 

Money Getter, A . 84 

Pageant of Dances, The. 82 

Plan for a School Fair. 77 

RECITATIONS: 

Awful Luck! A Christmas Wail. 37 

Her Alphabet, for an Encore. 27 

Johnny’s History Lesson . 26 

“Kitty’s Christmas”. 36 

Meanest Man, The . 25 

Moo Cow Moo, The. 34 

Snow Storm, The . 28 

Thanksgiving Day Introspection, A. 35 

“Waking Up!”. 29 






























SOCIAL CENTER 


9 


" SUSIE'S KITCHEN BAND” 


Seven or more girls are needed for this act. 
They should be dressed in cooks’ uniforms or 
bungalow aprons and caps, each person carry¬ 
ing some kitchen utensil upon which he is to make 
music. Such articles as a comb for a mouth 
organ, curtain rods for a horn, a dish-pan and a 
dish-mop for a drum, an oven grate or a large 
toaster or dish drainer for a harp, a broomstick 
and a bread knife for a violin, a very large coffee 
pot or tea kettle for a bag pipe, and a frying pan 
for a banjo are used. Other things will suggest 
themselves as needed. One person acts as director 
for the orchestra. He makes his movements as 
ridiculous as possible. A variety of pieces of 
music including some popular and patriotic music 
should be used. One piece should be very sad or 
sentimental, such as “Silver Threads Among the 
Gold.” When a touching part is reached in this 
piece the drummer dips his dish mop into a pan 
of water standing near and wipes his eyes, allow¬ 
ing some tears to run down his cheeks. An organ 
grinder leading a monkey and carrying his hand 
organ (a clothes wringer) moves about through 
the audience after each piece collecting pennies in 
a tin cup. 

This act should be given at least fifteen minutes 
on the program and will possibly be called back 
several times. 



10 


THE COMMUNITY 


A MURDER IN CHINATOWN 


Materials needed for this are: Two candles, a 
long narrow table, a sheet for a curtain, a large 
spoon, a fork, a small square table and 1 a chair. 

A shadow scene is made by having the actors 
placed between the light and the sheet. Proceed 
as follows: 

A man walks in and sits down at the small 
table. The waiter comes and takes his order and 
leaves the room. He soon returns with a well 
filled tray. Being very hungry the man finishes 
the food, then eats spoon, knife, fork and finally 
plate, cup and saucer. Chinaman returns. There 
is a great altercation in pantomime. Chinaman 
takes the big butcher knife he has in his hands 
and stabs the patron. He then lays him on the 
long table and cuts him open and removes the 
dishes, 

* 

It is necessary to have a small person near to 
take the dishes as the guest swallows them and 
return them after he is cut open. The swallowing 
process should be slow to make the scene from 
outside the < artain very realistic. 



SOCIAL CENTER 


11 


THE LIVING CHRISTMAS TREE 


From nine to about thirty girls can be used in 
this scene. They should wear light green crepe 
paper dresses. The first row should stand or 
kneel on the floor, second should be elevated be¬ 
hind them, the third still more elevated and so on. 
The last girl stands on the ladder behind the rest. 
She wears a huge Christmas star and holds a 
candle in each hand. The girls hold tinsel which 
is draped across the front of the tree. The girl 
at the outside of each row holds a candle. 

The room is darkened while the girls march in 
to soft Christmas music. As soon as all are. in 
place, tableau lights are flashed on. Someone 
sings a Christmas solo or the choir chants softly, 
some anthem. The lights are changed about every 
half minute, using red, green and lavender lights. 

{See illustration on following page.) 



12 


THE COMMUNITY 



THE LIVING CHRISTMAS TREE 




































SOCIAL CENTER 


13 


THE WHEEL DRILL 

This drill is especially good for Christmas time 
when the leader carries a small Christmas Tree 
and each person wears a white dress trimmed 
with evergreen and silver stars and tinsel. It is 
also good with Autumn leaves as decorations or 
with wreaths of roses. It is highly recommended 
because of the ease of production. 

This drill requires eleven people. They should 
be of varying sizes but it may be given by that 
many tiny children. The leader should be the 
tallest person taking part. He enters at the right 
side of the stage, marches to left side, down left 
side across front, up right side across back to the 
center; he passes down the center and at center 
front turns to the right; the next person passes 
to the left and so on, leaders going to right and 
left front corners, up sides, across the back until 
they meet, then all come down the center in 
couples, leader going ahead. At center front 
leader turns right and all couples follow him once 
around the stage; at center front he turns up to 
the back of the stage, first couple goes to the right, 
second to the left, meeting at center front, leader 
having remained near the back of the stage, all 
couples fall in line and march to back of stage 
where the five taller people gather round the 
leader and the five shorter ones each join hands 
with taller ones to form the spokes of the wheel. 
Then the wheel turns round about four times, 
leader breaks out, each person, falls in line in his 
former position and marches to center back and 
Off at the right. 



14 


THE COMMUNITY 


THE ROSE DRILL 


For Eight Girls 


For this drill eight hoops about twenty-four 
inches in diameter should be used. They should 
be covered with green crepe paper and wreathed 
with paper roses with green stems and sepals. To 
make these roses: Cut rectangular pieces of crepe 
paper about four inches long and two inches wide. 
Have. the center petals smaller than this and 
gradually increase to this size. With the finger 
tips gently roll each petal. Fasten them together 
around a piece of hat wire and wind the leaf-like, 
green sepals on the outside. Wind the stem with 
green and wrap it around the hoop. Twelve roses, 
six pink and six white, are needed for each hoop 
—nine on the hoop and three hanging down from 
it on stems about eighteen inches long. 

Each girl carries her hoop in both hands as 
she comes upon the stage. Waltz music is played 
and the girls use waltz step, going around the 
stage twice in this manner. At the center back, the 
leader turns and comes down to center front, 
turning to right. The second girl turns left and 
so on. At center back they meet and come down 
the center in pairs. Each group turns to right and 
left as before and this is repeated. At the right 
corner back the leader turns and cuts diagonally 



SOCIAL CENTER 


15 


across the stage; leader of the other group turns 
at left back and the two meet at the center of 
the stage. Leader of first group passes to left 
front, second—to right front and so on. Each 
turns and goes to back of stage. They meet at 
center back and come down to the front of the 
stage in pairs. At the front first couple stops, 
girl at the right of each succeeding couple taking 
her place at the right of the girl before her, and 
the girl at the left of each couple forming on the 
left, making a line across the front of stage. 

They now go through the following exercise: 

Hold hoops down in front of the body, raise 
them so as to look through them, hold above the 
head, hold up with right hand, touching next 
girl’s hoop so that they appear in pairs, drop 
down to the side, hold up with left hand, drop 
down to the side; hold hoop out to the right of 
the body with right arm extended, left extended 
across front of the body holding the other side 
of the hoop; repeat with the left hand. Then bend 
the body far to the right and peer through hoops; 
next bend to the left. Kneel, repeat motions 
above. Hold each position six counts. 

Rise, turn to the right of stage, go up right 
side, diagonally across to left front, up left side 
diagonally to right front, up right side across 
to center back, down to front of the stage, where 
leader kneels and girls kneel or stand behind her, 
so as to make an even row extending diagonally 
upward toward the back, each girl peering through 
her hoop and her face showing above the one in 
front of her. 



16 


THE COMMUNITY 


THE STAR DRILL 

( Tableaux ) 

* 



For this drill seven or nine girls are required. 
Each girl carries a wand eighteen inches long 
wound with white tissue paper, or painted silver 
or gold color, at the top of which is a star. The 
stars are cut from cardboard and are painted gold 
color on one side and silver on the other side. Six 
of the stars are five inches in diameter. The 
leader’s star is seven inches and has a yellow 
ribbon streamer hanging from each point with two 
from the top point. The ribbon should be one and 
one-eighth inches in width. Streamers from the 
lower points of the star should be three feet long 
and those from the upper point six feet or seven 
feet. This makes the leader carry her star well 
above her. 

The girls should dress in white cheese-cloth 
gowns, which would be much better if dusted 
with artificial snow. 

Girls enter at left and march down left side, 
across front of stage and up right side across to 
left, leader going ahead pass around the stage 
again. At center back leader turns coming down 
to the front of the stage followed by all the girls. 
At the center front leader turns left, second girl 
turns right, third girl turns left, fourth girl turns 



SOCIAL CENTER 


17 


right, etc. They pass to left and right corners 
of the stage, up the left and right sides and to the 
center back where leader goes ahead and the girls 
meet and follow in pairs down to the center front. 
At the center front the leader turns right, girls 
following in pairs, they pass up the right side and 
across to center back, down center across to left 
front, up left side and across to center back, down 
center, the leader turns to right, second girl to 
the left, third to the right, etc. The groups 
march to right and left front corners, up right 
and left sides; at right back corner leader cuts 
diagonally across to the left front, second girl 
cutting diagonally from left back to right front, 
girls passing each other alternately at the front 
of the stage. At left front both groups turn and 
cross the front of the stage passing each other in 
the center, then leader turns and goes diagonally 
to the left back, second girl leading her group to 
right back, alternating at the center of stage as 
before. At the back, each group marches to the 
center of the stage and passes each other as at the 
front. Now both groups march diagonally to the 
front corners as before, turn at front corners and 
march to the center front where the leader goes 
ahead to center back, the girls following in pairs. 
At the center back of the stage leader turns to the 
left marching once around the stage followed by 
the girls, in pairs. From center back she leads 
them down to center front. Here leader pauses 
while one girl goes to the left and one goes to the 
right , etc., meeting again to form couples at 
center back. While they do this, leader with an 
almost inperceptibly slow motion, walks back¬ 
wards to center of the stage. Girls come in pairs 



18 


THE COMMUNITY 


fiom center back, each one taking a ribbon as she 
conies to the leader. The leading couple takes the 
shortest ribbons and stands, one on each side of 
the leader while the last group takes the longest 
ribbons hanging from the top point of the star. 
Thus they form a line across the center of the 
stage. The wand is to be held in the hand away 
from the leader and the ribbon in the other hand. 
March slowly, seven abreast, to the front of the 
stage; pause three counts; leader kneels (giving 
the appearance of a star rising as the beams show 
above the star) ; leader rises (showing the star 
well above the horizon) ; leader stands while the 
other girls’ kneel (showing the star high in the 
heavens shedding its beams downward). Each of 
these last three positions is held long enough for 
tableaux lights in all the different colors, or as 
many as convenient. The change is made each 
time as the last color is flashed off so that the 
girls are discovered in the new positions as soon 
as the lights are snapped on. Music ceases as the 
leader kneels. 



SOCIAL CENTER 


19 


THE NURSE MAIDS' DRILL 


The dance is so popular as a part of nearly 
every program now that the following is given as 
copied from a pageant given on the Million 
Dollar Pier at Atlantic City. 

Characters: A girl 8 to 15 years old, from 4 
to 10 girls of five to eight years, and an equal 
number of tiny tots 18 months to years old. 

Materials: Costumes, and as many sulkies as 
there are tiny tots. 

The girls of five to eight years wear black 
dresses and white nurses’ caps and aprons, all 
white shoes and stockings, or white stockings and 
black sandals or pumps. Sandals are preferable 
in either color. The tiny tots are dressed in all 
white, with or without white bonnets and, if the 
weather will permit, without shoes or stockings. 
The larger girl may wear any light costume. 

The older girl comes onto the stage and sings: 
“I Want a Daddy Who Will Rock Me to Sleep.” 
(If there is a newer song with a similar sentiment 
perhaps that might be substituted but in any case 
the same music should be used throughout the 
number except during the dances and may be used 
here for the last dance.) If this girl can give a 
fancy dance either before or after she sings it 
will add effectiveness to the drill. 



20 


THE COMMUNITY 


As she leaves the stage the “nurse maids” 
march on to the music of the song. They wheel 
the sulkies in which the tiny tots recline like very 
small babies. They pass twice around the stage 
then to the center back, then part way down to 
the front of the stage where the leader halts, 
while the others form a straight line on each side 
of her. All leave the sulkies and babies and march 
nearly to the front of the stage. A Scottische is 
played while the girls give the following dance: 

1. Beginning with the right foot take three 
running steps forward and kick with the left foot; 
take three running steps backward (begin with 
left foot) and kick with right foot; kick left, 
kick right, kick left, kick right. 

2. Beginning with the right foot run three 
steps to the right and kick left foot; beginning 
with the left foot run three steps to the left and 
kick right foot; kick left, kick right, kick left, 
kick right. 

3. Repeat all from the first. 

The girls should practice considerably so as to 
be able to kick gracefully. 

The nurse maids now march around and form 
a line at the back of the stage. Music of the song 
is resumed. The tiny tots who up to now have 
appeared too young to walk now climb out of 
their sulkies, march to the front of the stage and 
give the following dance: 

Three steps right, kick; three steps left, kick; 
kick left, kick right, kick left. Forward and back- 



SOCIAL CENTER 


21 


ward may be given instead of right and left if 
desired. Use the methods that will be easiest for 
the tots to remember. Of course they will not do 
their part with exact precision, no matter what 
methods are used, but that need be no cause for 
w^orry on the part of the instructor. Doubtless 
just a few kicking steps from these infants would 
produce the desired effect. 

When the dance is finished the babies return 
to their sulkies. If an encore is desired they may 
return and bow. 

The nurse maids then step forward and follow 
the leader to the front of the stage, around to left 
back, and off. 



22 


THE COMMUNITY 


THE GHOST MARCH 


For 8 to 12 boys: 

The taller the boys in this drill the better. They 
dress as ghosts by wrapping themselves in sheets, 
being careful to pin the sheets about the head and 
arms securely. The face is covered with a piece 
of cheese cloth in which has been cut eyes, nose 
and mouth. 

Boys march in stiffly and solemnly at the right 
back corner of the stage, come down to front, 
cross front, keeping about four feet apart so that 
not all of them are on the stage at once. Pass off 
at left front corner. (If there is no opening at 
the left front use screens.) The first three boys 
are off the stage before the last one has entered. 
They quickly get around to the other entrance and 
follow the last one in. If they come from behind 
screens care should be taken to make them appear 
to come in the right entrance. All march across 
the stage in this manner for about three minutes 
so that the line seems interminable and the audi¬ 
ence gets the idea of a large number of ghosts. 
(Note: If twenty or more boys are available it 
will reduce the work of this drill and make it 
more interesting.) 



SOCIAL CENTER 


23 


Next, march to the center of the front of the 
stage and up to the left back, forming a V. Have 
first boy and last boy stand in right and left back 
entrances so that it appears that there may be 
more boys off the stage. 

Chant in a wierd, hollow voice: 

Up from the grave we arose (we arose) 

Our bones, our bones, are nearly froze (nearly 
froze) 

And out in the cold we must go (we must go) 

For we have no other home you know (oh it’s 
cold). 

The words in parenthesis at the end of each line 
are spoken in weird, hollow voices by several 
people out-of sight at the back of the stage. The 
boys should shiver at the words “froze” and 
“cold” and should nod three times at the end of 
each line. All movements till near the last of the 
drill should be slow and solemn. 

As soon as the verse is finished the leader 
hastens around to the other entrance, while the 
other ghosts walk slowly and solemnly off the 
stage. As each one comes to the left exit he 
should hasten around to the right to be ready to 
enter again. 

As the ghosts enter again they wind in and out 
across the stage describing the crawl of a snake. 
Going out left entrance and coming in again at 
the right so as to keep up the appearance of 
numbers this consumes three or more minutes. 
Make the line very crooked. Ghosts halt and re¬ 
peat the verse of song. 




24 


THE COMMUNITY 


Then face the left and follow the leader in an¬ 
other snake march, this time going faster and 
faster and putting hands on the shoulders of the 
ghost ahead. Now for the first time the whole 
number of ghosts is known to the audience. After 
going back and forth across the stage in this way- 
four times the leader winds the ghosts up in a 
circle like the coil of a snake. Repeat the words 
of the song with voices as near to whispering as 
can be heard by the audience. 

Drop hands as leader breaks the coil and leads 
to right front, diagonally to left back and off. As 
each ghost reaches right front of stage he extends 
his left arm. slightly, raises his right high about 
six inches from the ear, turns face toward the 
audience and marches stiffly off. 


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SOCIAL CENTER 


25 


THE MEANEST MAN 


My dad’s the meanest man in town 
I’ll tell you why; ye see 

When he has some hard work to do 
He alius picks on me. 

He won’t bring in the kindling wood 
Cause he’s too old and wise, 

So I must carry it all in 
Because I won’t tell lies— 

Like Johnny Smith, and say I’m sick 
But when there’s easy work to do 

Like drivin’ the tractor round 

Or takin’ cream to town, he's slick— 

He says he has to do that trick 

A hoy like me’s too young, you know 

He’d smash the car or else get hurt 
But that night when I stubbed my toe— 

A bringin’ in the wood, 

Why he just laughed—and when 

I cried, he said, “A few bumps now and then 
Are what we need to make us men.” 

I’m goin to get me another dad, 

Who’ll let me drive the engin’. 

I just bet that’ll make ma glad, 

She won’t have to do his mendin’. 



26 


THE COMMUNITY 


JOHNNY’S HISTORY LESSON 

From, “In Merry Mood” 

I think of all the things at school a boy has got 
to do 

That studying hist’ry as a rule is worst of all, 
don’t you? 

Of dates there are an awful sight, and though I 
study day and night, 

There’s only one just right—that’s 1492. 

II 

Columbus crossed the Delaware in 1492 

And whipped the British fair and square in 1492. 

At Concord and at Lexington we kept the Red 
Coats on the run 

While the band played “Johnny Get Your Gun,” 
in 1492 

III 

The Pilgrims landed on Plymouth Rock in 1492. 

The Indians standing on the dock said, “What are 
you going to do?” 

They said: “We seek your harbor drear that our 
children’s children’s children dear 

May boast that their forefathers landed here in 
1492.” 


IV 

Pat Henry with his dying breath, in 1492, 

Said, “Give me liberty or death in 1492.” 

And Barbara Fritchie, so ’tis said, cried, 

“Shoot if you must, this old gray head.” 

But I’d rather t’would be your own instead” in 
1492. 



SOCIAL CENTER 


27 


V 

Miss Pocahontas saved the life in 1492 

Of John Smith and became his wife in 1492. 

The Smith tribe started then and there and now 
there are John Smith’s everywhere 

But they didn’t have any John Smith’s to spare 
in 1492. 

VI 

Kentucky was settled by Daniel Boone in 1492; 

And I think the cow jumped over the moon in 
1492. 

Ben Franklin flew his kite so high he drew the 
lightning from the sky; 

And Washington couldn’t tell a lie in 1492. 

—Nixon Waterman. 


HER ALPHABET 

{For a Very Young Girl) 

I can make my P’s and curly Q’s 

And as many big A’s as ever I choose, 

I can make my O’s and crooked S’s 
Most as well as grown up Besse’s, 

In fact, I can do most anything in the world 
Except stand still while my hair is curled! 

—Selected. 



28 


THE COMMUNITY 


THE SNOW STORM 

The picture I see this morning 
Brings to my heart a glow: 

Why the trees and shrubs are all bending down 
With clustering flowers of snow! 

God gave the earth this mantle 
Of beauty soft and white 

To show the quiet splendor, 

With which He wields His might. 

Rail not at wintry weather 
For the sorrows it may bring; 

The flying snows of winter 
Make mellow soil for spring. 

But let each in life’s great orbit, 

Obscure or of renown 

Use love’s own pure soft mantle 
To mellow sorrow down. 


Suggested encore for 
“JOHNNY’S HISTORY LESSON” 

The Yankees crossed the German Rhine in 1492, 
They hung their clothes on the Hindenberg Line 
in 1492. 

And General Pershing, so they say, 

Said “Hell, Heav’n or Hoboken by Christmas 
Day, 

But the Germans didn’t want to pay, in 1492. 





SOCIAL CENTER 


29 


'WAKING UP!” 

By Charles Noel Douglas 


I 

Though Nineteen-sixteen gloomily upon Time’s 
stage appears, 

And Nineteen-fifteen’s vanished in a mist of 
blood and tears, 

Let’s greet the New Year with a smile, and 
though the heart is sore, 

The future doubtless for us all has much that’s 
good in store. 

We folks at Corn Cob Corners, though things at 
times look glum, 

Have glimpsed some hopeful signs which tell of 
happier days to come. 

And so a cheerful feeling through the family has 
spread, 

Which shows the world’s progressing and we’re 
moving fast ahead. 

Now just consider mother, go back a year or two, 

And you’ll find that kids and cooking were the 
only things she knew 

When friends dropped in to see her, you’d know 
in half a glance 

She was talking ’bout our Sue’s new hat, or 
Willie’s Sunday pants. 




30 


THE COMMUNITY 


But now she’ll storm about reform, the trusts 
give her a pain, 

She says she’d vote for Lincoln, if Abe should 
run again. 

She’s way from hum now fighting rum, Dad 
minds the house instead, 

Which shows the world’s progressing and we’re 
moving fast ahead. 

Here’s another thing that proves to us that evolu¬ 
tion’s rife, 

Dad eats his peas now with a spoon, and quite 
discards his knife. 

A great improvement you’ll admit, for now when 
meals are o’er, 

No need to creep all day and sweep the peas from 
off the floor. 

It’s very cheering too to note, when Father’s eat¬ 
ing soup, 

We don’t have to raise umbrellas or seek safety 
on the stoop. 

And Dad doesn’t swear or even wear his shoes 
now when in bed, 

Which shows the world’s progressing and we’re 
moving fast ahead. 

But the greatest thing that’s hit us for a century 
at least, 

The incident that gave us all an intellectual feast. 

Was a moving picture outfit that was snapping 
rural scenes^ 

Catching pictures of the natives masticating pork 
ancL beans. 



SOCIAL CENTER 


31 


They watched the hired man for a month, this 
statement we can prove, 

To see if they could really snap a hired man on 
the move, 

And one day the lightning struck him, and he 
moved an inch ’tis said, 

Which shows the world’s progressing and we’re 
moving fast ahead. 

Two dollars once upon a time and a glass or two 
of rye, 

Was all they needed round these parts a fellow’s 
vote to buy. 

But now when ’lection comes around, whiskey 
they disdain, 

They want a “V” to vote and gee, they brace you 
for champagne. 

And as for tramps you’d think the scamps were 
judges off the bench, 

Food they refuse unless “menoos” are written, out 
in French. 

And you must use a silver salver when you hand 
them pie or bread, 

Which shows the world’s progressing and heaven 
ain’t far ahead. 

Last year a dry spell spoiled the crops, and the 
foot-and-mouth disease, 

Killed off the cattle, while the moths chewed up 
the apple trees. 

Grasshoppers, too, would grab the hens and off 
with them would fly, 

While the bull dog it was swallowed by a skeeter 
nine feet high. 



32 


THE COMMUNITY 


A cyclone, too, it came and blew the homestead 
clean away, 

But another cyclone came along, and blew it back 
next day. 

And with it came an extra house and a new barn 
painted red, 

Which shows the world’s progressing and we’re 
moving fast ahead. 

We’ve formed a peace society and met last Tues¬ 
day night, 

And we passed a resolution folks should arbitrate, 
not fight. 

We decided war was horrible, a monstrous, 
wicked thing, 

And to nations that engaged in it, red ruin it 
would bring. 

Then some denounced the Kaiser, and some de¬ 
nounced the Czar, 

And when the village constable came rushing 
from afar, 

He found but twenty wounded, and a half a 
dozen dead, 

Which shows the world’s progressing and we’re 
moving fast ahead. 


So hurrah for Nineteen-sixteen, let each one try 
and plan, 

To make it best of all the years since this old earth 
began. 

So live up to the golden rule, be merciful be kind, 



SOCIAL CENTER 


33 


By helping others we alone true happiness can 
find. 

Life’s short, so let each day record at least one 
deed of love, 

That angel hands can enter in the Book of Life 
above. 

So grasp the sword of duty, of the future have 
no dread, 

For this old world’s progressing and there’s para¬ 
dise ahead. 


HE LOVED HIS GLASS 

(For an encore) 

He put his arms around my waist 
And on my lips he pressed a kiss 
Quoth he, “I’ve sipped from many a cup 
But never from a mug like this.” 



34 


THE COMMUNITY 


THE MOO COW MOO 

By Permission of the Dodge Publishing Co. 



My pa held me up to the Moo Cow Moo 
So close I could almost touch 
En I fed him a couple of times or two 
En I wasn’t a’fraid cat—much. 

II 

But when my pa goes into the house 
En mamma she goes in too 
I jes’ keep still like a little mouse 
’Cause the Moo Cow Moo might moo. 

III 

The Moo Cow Moo’s got a tail like a rope 
And it ravels all down where it grows 
An’ it’s just like feeling a piece of soap 
All over the Moo Cow’s nose. 

IV 

En the Moo Cow Moo has deers on his head 
En his eyes stick right out of their place 
En the nose of the Moo Cow Moo is spread 
All over the end of his face. 

V 

En his feet is nothing but finger nails 
En his mamma don’t keep them cut, 

En he gives folks milk in water pails 
Ef he don’t keep his handles shut. 

VI 

’Cause ef you or me pulls those handles 
The Moo Cow Moo says it hurts 
But our hired man sits down close by 
And squirts and squirts and squirts! 

—Edmund Vance Cook. 



35 


SOCIAL CENTER 


A THANKSGIVING DAY INTRO¬ 
SPECTION 

Let me look into my mirror 
On this great Thanksgiving Day: 

Let me learn if I am nearer 
Today than yesterday 

To the goal for which Tve longed and prayed 
And from which, mayhap, Tve often strayed. 


Is there aught of spirit in me 
I can turn to good account? 

Are there evil thoughts and mem’ries 
That I must, of needs, weed out? 

I will search the mirror closely, 
Something good or ill to spy, 

And I thank my Heavenly Father 
That my mirror does not lie. 


I will conquer stubborn will 

Which bids me do my neighbor wrong 

As my faults decay and wither 

They will make my virtues strong. 

Soils are often fed by weeds 

That were uprooted while yet young. 

From the readings of this mirror 
May I build for days to come 
On today’s ambitions crystal’d 
Are our future fortunes hung'. 

Oh, I thank Thee, Heavenly Father, 
For a task to build up on! 



36 


THE COMMUNITY 


And I thank Thee, Heavenly Father, 
For Thy kindliness today, 

For the many goodly favors, 

I recount each time I pray; 

For the comfortable blessings 
Of shelter, work, and food, 

And the greater balm of spirit, 

The gift of Life and Love. 


KITTY'S CHRISTMAS 

(For a tiny tot) 

I dived my kitty a Kwismas 
Ges like ve one mamma dave me 
I bought some toys and some tandies, 

And hung vem all up on ve tree. 

When Kitty woke up Kwismas morning 
She blinked her bright eyes in surprise. 
Ven she joyfully scurried all in and out 
To see all ve beautiful toys. 

She nibbled ve gray candy mousie, 

Ven spied a bright ball of red yarn 
Ven way to ve kitchen she littered ve house 
To give it to mamma to darn. 



SOCIAL CENTER 


37 


AWFUL LUCK! A CHRISTMAS 
WAIL 


By Charles Noel Douglass 


Christmas Day is here again. Wond’rin’ I ain’t 
glad? 

Wouldn’t wonder if you knew just what makes 
me sad. 

Sandy Claws has been and gone, vanished out of 
sight, 

Didn’t bring me what I wanted; I could cry out¬ 
right. 

He came down the chimney, but only got half¬ 
way, 

Chimney wasn’t big enough, stayed there half the 
day, 

Slid down to the middle, and there poor Sandy 
stuck; 

Tore house half down to get him out—Awful 
Luck! 


Dinner was a fizzle, thought I’d get a treat, 

Beats the Dutch the silly things some folks like 
to eat. 



38 


THE COMMUNITY 


Fool around a-swallerin’ soup; always wondered 
why 

They would waste so much good space, an’ leave 
no room for pie. 

Folks seemed to enjoy their selves, but Jim and 
Sister Nell 

Chewed up the cranb’ry sauce, and didn’t leave 
poor me a smell. 

Then Mother cooked a turkey, while I just 
wanted duck. 

Six back teeth got aching too—Awful Luck! 

Presents going round the house since the early 
morn; 

Uncle Bill presented me with a three foot horn; 

When you blow and blow it good you can have 
some fun, 

Folks for sixteen miles around all get up and run. 

Of? I went to Grandmama’s to wake her up a bit, 

Give her some Christmas music, thought I’d make 
a hit. 

Blew the horn in Grandma’s ear till my lips got 
stuck, 

She’s deaf and didn’t hear a note—Awful Luck! 

Dad’s looked kinder blue today, though he’s 
stuffed with pie, 

Got a yearning, longing look gleaming in his eye. 

He’s quite forgot to whistle, and he’s quite forgot 
to hum; 

When he does that, just bet your life Dad is feel¬ 
ing glum. 

You see dad’s brother, Uncle Jim, he’s a kind of 
sport; 



SOCIAL CENTER 


In his pocket I could see a flask that held a quart, 
I saw him wink at Dad and say: “Have some old 
Kentucky,” 

But Dad swore off a week ago—Awful Luck! 


Aunt Samantha came last night, I was dreadful 
good; 

Had a pile of gifts for me, so I understood; 

Acted like an angel, let her kiss me twice, 

Hate to have folks slobber me, but told her it was 
nice. 

After breakfast, Aunt, she went and brought her 
presents out; 

When I saw ’em coming, say, I sent up a shout. 

Gave brother Bill an airgun, also an auto truck, 

While all I got was Gospel hymns—Awful Luck! 


Uncle Ned, who’s bald of head, no hair on his 
dome, 

Sandy Claws presented him with a brush and 
comb, 

Grandmama, who for years had had no teeth 
within her mouth, 

Had a tooth-brush sent her from a friend who 
lives down south. 

Uncle Jeff, born stone deaf, well say, I had to 
laugh, 

Dropped dead almost, for parcel post brought him 
a phonograph. 

I got a bob sled and some skates, best I ever 
struck; 

Move to Florida next week—Awful Luck! 



40 


THE COMMUNITY 


JOLLY IS THE MILLER 

(By Permission of Cable Co.) 


Children choose partners and form a circle with 
the girls on the inside, each couple in back of the 
other. Joining inside hands, with partners, the 
children walk quickly and joyously around the 
circle singing gaily. The “miller” chosen from 
the group stands in the center of the “wheel” 
which goes round. When the line “The right 
steps forward and the left steps back,” is sung, 
the children on the outside step back one place 
and those in the inside step forward, thus causing 
each child to take a new partner. While this 
change is going on the “miller" tries to get a 
partner. The child who is left out then takes his 
place as the miller while the game is repeated. If 
he does not succeed in getting a place, he must 
remain in the center until he does. This game is 
liked equally well by older children and adults 
and may be successfully used as a “mixing stunt” 
at a big gathering. 



SOCIAL CENTER 


41 


CAROUSAL 

START Slowly AND<tRAPVALLYQuiCK£ N- 

Lit- t|e Chil- dren iweet and Ofa/jCa**-ou»sa( is ruivrvinf^ 


Jt will i»un -till eve-fling^ Lit--tie onejanfctfe/ Bl’Sones ad/rne 
■■■■ . l. ...» ■ JJ. g past 

Hui»-r*y up/G'et arn*teo*»yot»y/S^i*c-/yb«tooJate. Ha! Ha! HaI 


Wap- py a^xs we ; An-den-son and Rs.t- -ten-son and Cai*^Strorn and rue. 


JOLLy IS THE MILLER. 


JoMy i s the tnlli-er whoHvesby them!IlfThevheel goesW^wit*a 


*1 ghtafood will,One hand 7n thehop-penand the oth- e* ;« tiie 


sac* The r*«0ht steps w* the /eft Steps McK. 







































42 


THE COMMUNITY 


CARROUSEL 

(By Permission of Cable Co.) 


This Swedish singing game is a great favorite 
with little people and grown-ups as well. Even 
with the boys it will be found a favorite. “Car¬ 
rousel” refers to the merry-go-round, and the 
children playing it represent the horses with their 
riders. The “horses” join hands in a circle facing 
in. The children who are to “ride” place their 
hands on the shoulders of the “horses,” thus 
forming an outer circle. In part I, the dancers 
(i. e., both horses and riders) slide slowly around 
in the large circle to the left, singing. These 
slides should be taken one to a measure on the 
first beat in each case. On the words “Hurry -up! 
Get a mate! Or you’ll surely be too late!” the 
music gets faster and the children stamp on the 
italicized words. In II, or the chorus, they take 
two or four slides to a measure while the song 
is sung much faster. The chorus is repeated with 
the dancers reversing the directions in which they 
are sliding. The music starts slowly getting faster 
and faster in true imitation of a starting merry- 
go-round. 

CALL BALL 


Any number of players. Players are given 
numbers and sit on the floor in a circle. The 
leader holds a ball which she throws ten feet into 
the air. As she does so, she calls out one of the 
numbers. The player having this number must 
catch the ball. If she fails to do so she must 
become IT, that is, she must throw the ball up 
until someone else fails to catch' it. 

This game may be played standing by catching 
the ball after a bounce. 



SOCIAL CENTER 


43 


GOING TO NEW ORLEANS 

Any number over three can play this game but 
it is more interesting if eight or more are playing. 
Two players choose sides so that there is an even 
number of players on each side. They group 
themselves together at opposite ends of the room 
and decide upon some action which they will 
perform to illustrate their work; for instance, 
rubbing on a washboard if the work is to be laun¬ 
dering. 

When this is decided upon the group first ready 
forms in line. The group at the other end of the 
room forms in line also. Group No. 1 marches 
up toward group No. 2, and when they reach the 
middle of the room stops. Group No. 2 advances 
a few steps toward them. 

Group No. 1 says: “Here we come.” 

Group No. 2: “Where are you from?” 

Group No. 1: “New Orleans.” 

Group No. 2: “What’s your trade?” 

Group No. 1: “Shovel and spade.” 

Group No. 2: “What’s your work?” 

Group No. 1: “Guess!” 

Group 1 then performs the motions decided 
upon to imitate their particular work. Group 2 
tries to guess the name of the occupation. When 
this is named group 1 must run back to its base 
before being tagged by group 2. Every member 
tagged becomes a part of group 2. Group 2 then 
advances toward group 1 and the game proceeds 
as before. This time group 1 tries to catch more 
players than it lost the last time. 

The game lasts until all the players are on one 
side or until the interest in it seems to lag. 



44 


THE COMMUNITY 


SCAMP AND THE GARDENER 

& 


Form a circle with a gardener standing outside 
and a scamp inside picking vegetables. 

The gardener cries: “Who let you into my 
garden ?” 

The scamp replies: “Nobody.” 

Then the gardener chases the scamp who runs 
in and out the circle between the players who are 
holding hands. The scamp makes as many ma¬ 
neuvers as he can think of everyone of which the 
gardener must imitate. When the gardener 
catches the scamp, the scamp becomes gardener 
and the gardener chooses someone for scamp. If 
tired the new gardener may choose someone to 
take his place. This game admits of much origi¬ 
nality. The scamp’s maneuvers should be as 
humorous as he can possibly make them, for in¬ 
stance, if he can stand on his head it is probable 
the gardener will find it difficult to imitate him. 



SOCIAL CENTER 


45 


YANKEE DOODLE POLKA 

Music : Yankee Doodle 


Players choose partners and stand in a large 
circle, single file. Perform the following: 

I 

1. Heel and toe (tap right toe and heel once 
each. Repeat with left.) Take three steps for¬ 
ward, beginning with right foot. 

2. Four skipping steps. 

3. Curtsy twice. 


II 

Chorus 

1. Clap hands twice; bow to partner; clap 
twice; bow to neighbor; stamp twice; turn 
around. 

2. Sixteen running steps left; sixteen running 
steps right. 


Repeat from the beginning. 



46 


THE COMMUNITY 


BEAST, BIRD, OR FISH 

The players sit in a circle with one standing 
inside. Then the player in the center goes to one 
of those seated and says the name of some animal, 
bird, or fish. The player who is seated must tell 
to what class it belongs before the person who 
named it counts to ten; for instance, if the one 
in the center says “Tiger,” the player he addresses 
must say “Beast” before the first player counts 
ten. If he fails to do so he must give his seat to 
the first player. Sometimes this is changed round 
and the player in the center names the class and 
the player he speaks to must name a member of 
that class, as the player in the center says “Fish” 
and the one he addresses responds with “Trout” 
or some other kind of fish. 


FRIENDSHIP CIRCLE 

Form a circle. The person who is IT tells what 
he will do when he meets the player whom he 
shall tag; for instance, he says he will shake hands 
with him, or tie his own shoe. He then runs 
around the outside of the circle and tags someone. 
The player tagged goes in the opposite direction. 
When the two meet they perform the action men¬ 
tioned by the player who tagged him. Then each 
tries to beat the other back to place The last one 
there is IT. The players standing nearest the 
vacant place hold up their hands to mark the 
place. 



SOCIAL CENTER 


47 


ANSWERING AN ADVERTISE¬ 
MENT FOR A SERVANT 


This one act farce requires two characters one 
of which is able to do negro dialect. As the cur¬ 
tain rises Mr. Jones is seated in the living room 
of his apartment reading the morning paper. The 
room should be furnished with a reading table, 
a large chair in which Jones sits, as many other 
chairs as needed to make the room look homelike. 
The light is aided by candles on the table. 

Scene I 

Time: 15 Minutes 

“The servant problem is getting to be a menace. 
I have trouble with every one I can find. I hope 
this advertisement I put in for a colored servant 
will soon bring results.” 

(Enter Mr. Sam Johnson with a suit case in 
his hand. The suit case is very shabby and the 
sleeves of a soiled white shirt, underwear and 
sundry other articles protrude through the insuffi¬ 
ciently closed receptacle. Sam (colored) passes 
all around the stage, peering furtively here and 
there.) Says: “Ish dis de plath? I wonder if dis 
is de plath?” Repeats same words. Exit. Jones 
looks up then continues reading. Enter, Johnson. 
Passes all around the stage as before peering here 
and there and says: “I wonder if dis is de plath. 
Dey told me dat dis was de plath but I don’t know 



48 


THE COMMUNITY 


from his paper, saying: “I wonder what that 
fellow wants. If he comes in here again, I shall 
make it a point to find out.” 

Re-enter Johnson. “Dey told me again dat dis 
was de plath and I guess dis am de place but I 
guess dis ain’t de plath?” looking questioningly at 
Mr. Jones. Starts to leave the stage. 

Tones: “See here, Sir, what do you want 
here ?” 

Johnson turns quickly, bows and says, “Yas sir, 
I see an advertizment in de jewspaper that I 
want to hire you.” 

Jones corrects, “You mean you saw an ad in 
the newspaper that I want to hire you” 

S. J.: “Yes that I want to hire you.” 

Jones: “I’ll take you on trial for three days.” 

S. J.: “Say, how much is you going to pay 
me ?” 

Jones: “If you do good work, for the first day 
I will give you four shillings, the second day fifty 
cents, and if you continue doing me excellent 
service, for the third day I will give you half a 
dollar.” 

S. J.: “Four shillings* fifty cents, a half a 
dollar. Will you do my washing?” 

Jones: “As you seem to be a pretty smart 
fellow—” (S. J. cuts in) “Oh, I, yes I’se smart 
all right;” and jumps around, tries to dance a 
step, stumbles and falls down. 

Jones—“I think we can have your washing 
done at the laundry.” 

S. J.: “Say them is my clothes. They ain’t 
lawn clothes.” 

Jones: “I mean we can get your washing done 
at the laundry where they do washings.” 



SOCIAL CENTER 


49 


S. J.: “Oh, yes sah, yes sah, boss ’Scuse me.” 
(Jones spies red silk tights protruding from suit 
case). 

Jones : “You must have worked with the shows 
at some time didn’t you ?” 

S. J.: “Yes, I was with the shows once.” 

Jones: “How does it happen you left them?” 

S. J.: “They discharged me so I got mad and 
quit.” 

Jones: “Why did they discharge you?” 

S. J.: “The boss told me I was so much dif¬ 
ferent looking than the rest of the animals that 
I drew all the distraction from the people—so he 
discharge me.” 

Jones: “Well you can put your suit-case 
away.” 

S. J. leaves the stage, returning soon without 
his suit-case. “Well, what does you want me to 
do?” 

Jones: “First, you may bring me my break¬ 
fast.” 

S. J.: “Yas sah, boss. All right sah.” Leaves 
the stage. Jones resumes the reading of his paper. 
S. J. re-enters, tiptoes stealthily across the stage 
and says, “What do you want for breakfast?” 

Jones, without looking up. “You can bring me 
some toast and tea.” (Exit S. J.) 

Re-enter S. J. as before, bends down close to 
his ear and says in a loud stage whisper: “Say! 
Does you want your tea toasted or your toast 
tead ?” 

Jones: “I merely want some toast and tea.” 

S. J.: “Yes but does you want your toast tead 
or your tea toasted?” 



50 


THE COMMUNITY 


Jones: “Go and get my tea and toast.” Exit 
S. J. Returns presently with tea and toast on a 
tray, falls headlong on the stage, letting go of the 
tray, spilling tea while the toast rolls off on to the 
floor. S. J. gets up, picks up the toast, plate and 
tea cup, wiping each off on his trousers, sets the 
tray on the table and says: “Yes sir, here is your 
tea and toast.” 

Jones: “I don’t want that. Take it away.” 

S. J. takes it away and returns. Sits down in a 
chair. Door bell rings. 

Jones: “There is a ring at the door.” 

S. J. sits with arms folded and legs crossed and 
says, “Yes sir.” 

Jones: “Go and see what is wanted.” 

S. J.: “Go see yerself.” 

Jones stamps his foot: “You go and see who 
is at the door !” 

S. J. goes to the door and returns across the 
stage to say (rolls his eyes as he does so) : “It’s 
de Post Office.” 

Jones : “You mean the mail man.” 

S. J.: “No, it’s de Post Office.” 

Jones, looking cross: “I say its the mail man!” 

S. J., getting scared, laughs and says, “I reckon 
you’re right. He don’t look much like a female 
man.” 

Jones: “Go and see what he wants.” S. J 4 
leaves and returns with a letter which he opens 
and reads. 

Jones looks up, stamps his foot and says: “See 
here, what do you mean by reading my letter ?” 

S. J. folds up the letter, puts it in the envelope, 
hands it to Jones saying, “Yes sir, here is your 
letter.” 



SOCIAL CENTER 


51 


Jones begins .reading the letter. Exclaims: 
“My poor mother!” 

S. J. sighs, puts his hands on his knees and 
cries, “O-o-h!” Repeats. 

Jones: “What in the world is the matter?” 

S. J.: “Yas sah, I had a mother once too.” 

Jones: “What has that to do with my letter ?” 

S. J.: “Yas sah, and she died. And when she 
died she opened her mouf and let all the wind 
out.” (Draws in long breath filling out his cheeks, 
then releases the air slowly shaking his head all 
the while.) 

Jones: “Well never mind. But do not inter¬ 
rupt me with mv letter. Bring the candle over 
here.” 

S. J. brings the candle, stands with it held down 
by his side. 

Jones: “Hold that light up.” 

S. J. stands on tiptoe, holding candle as high 
as he can reach. 

Jones: “Hold the light down.” 

S. J.: “Yas sah,” holding the light way down 
below the table nearly to the floor. Jones takes 
S. J.’s hand and raises it to the right position, 
saying, “There, that will do.” 

S. J. lets go the light and turns around. Jones 
stamps foot and says, “You black rascal! Pick up 
that light.” 

S. J.: “You said that would do and das all I 
know.” Picks up the candle. 

Jones: “Now hold the light so that I can see.” 
S. J. stands just behind Jones’ shoulder looking 
over his shoulder reading the letter. Gets in- 



52 


THE COMMUNITY 


terested in the letter forgets the light and moves 
his hand so that the candle sets the letter on fire. 
Jones throws the letter saying, “You rascal, put 
that out!” S. J. jumps up and throws himself 
vigorously in a sitting position on the letter ex¬ 
terminating the blaze. Slowly pulls it from under 
him and hands it to Jones. Jones takes it with 
these words: 

“You have spoiled the most important part of 
my letter.” 

S. J. rubbing hip and back, rising showing a 
hole in the seat of his trousers, limping around. 
“Yes and you’ve spoiled the most important part 
of me, too.” 

Jones grabs a cane or stuffed club and chases 
him off the stage. Curtain. 


“OUR COUNTRY” 

Time: Thirty Minutes. 

Characters : Twenty or More 
(A reader stands outside the curtain and reads 
the following while the stage is being prepared 
for each scene. If more time is required a song, 
appropriate to the period to be shown in the next 
scene, should be sung either by a chorus or by 
the audience.) 

Prologue : 

Let us take a brief glimpse at the history of 
our country, this evening. Perhaps we can learn 
from it something of the reasons why we are 
here and how it is that we are living in the free, 
peaceful, industrial country that we have, 




SOCIAL CENTER 


53 


In order to gain the peace and prosperity we 
now enjoy, a number of wars have been neces¬ 
sary. Enemies of justice and liberty are ever at¬ 
tacking the foundations of these great and noble 
institutions in order that their selfish gains may 
be furthered. 

Hence it is that our country has been involved 
in several wars. As each of these wars has begun 
a new chapter in our history, the scenes of these 
wars will be used in this panoramic view of our 
history. 

First, was our war for Independence from 
Great Britain. Noble patriots from all over the 
then English speaking colonies rushed to their 
valiant leaders to rid the colonies of the oppres¬ 
sive laws for gain, imposed upon them by Eng¬ 
land. 

Scene I 

At this time the task of establishing a stable 
form of government requires the ablest men the 
country has produced. Such grand men as, 
Thomas Jefferson, Alexander Hamilton, and John 
Adams come forward and the situation is ably 
met. A great season of prosperity follows. That 
vast tract of land west of the Mississippi is added 
to our domain by a very wise purchase made by 
Thomas Jefferson. Discoveries, new lands and 
extensions of the old colonies abound. Many in¬ 
ventions are begun. 

England, however, ever jealous and quarrel¬ 
some, insists on crowding our commerce off the 
seas. She also resents the aid we received from 
France during the Revolution and insists on mak¬ 
ing it as difficult as possible for the new Republic 



54 


THE COMMUNITY 


to exist. She searches our vessels and impresses 
our sailors. No attempt on our part to assert our 
neutrality is of avail. Tiring of such oppression 
the people decide that war is the only way to 
prove to England that we mean to exercise all the 
rights of a free and independent nation. (If 
preparation of next scene requires more time 
“Star Spangled Banner” should be sung now. At 
least it should be played just as curtain rises.) 

Scene II 

The steamboat now makes its appearance and 
the inventive and business genius of our hardy 
settlers is bringing our new nation rapidly to the 
fore. Vermont, Ohio, Kentucky, Tennessee, 
Louisiana and Mississippi have been added to the 
original thirteen states. Texas, a new sister, is 
clamoring for admission to the great sisterhood of 
states. Mexico jealous of the greater nation and 
claiming part of her southwestern territory makqs 
war a necessity. 

Scene III 

It is unfortunate that in so glorious a country 
as this we are studying, there should have been 
implanted an institution that is degrading to the 
morals, stultifying to the mental and ethical char¬ 
acter and dangerous to its industrial welfare. 
Such, however, is true. Slavery, started in 
America many years before her independence 
was gained, has been eating at the heart of her 
happiness for nearly fifty years. The southern 
states, composed of large plantations find slavery 
profitable and—they think—necessary. In the 
north, where the farms are small and the bulk of 



SOCIAL CENTER 


55 


the population lives in cities—where goods are 
made by machinery—the slave question is a 
menace. Besides, our broad minded people do not 
believe it right in the country we call free. Hard 
and bitter quarrels are constantly coming up be¬ 
tween these two sections. Henry Clay, “the great 
pacificator/’ in three great compromises, quiets 
the dissensions for many years. At last in 1850 
he dies and the great quarrel comes rapidly to a 
head. In 1861 we find the southern states 
banded into a Confederacy and all the horrors of 
war are on. President Lincoln, tender-hearted, 
honest Abe, labors hard to direct the machinery 
of war so as to make as little blood-shed as pos¬ 
sible. He makes it a war for the preservation of 
the Union rather than a war for the abolition of 
slavery. As slaves are being used to raise food 
and even to fight against the north, however, he 
finally makes his great “Emancipation Proclama¬ 
tion.” Much trouble is brought him through dis¬ 
sension among his cabinet members and, because 
he carries in his heart the burden of it all in addi¬ 
tion to the many pitiful pleas he hears each day 
from bereaved wives and mothers, he is nearly 
broken hearted. (Play softly “Tenting Tonight”) 
So anxious is he to see the close of the war that 
he journeys to Grant’s quarters near Richmond 
to await the results of the battles there. He 
thinks nothing of the danger and hardships that 
encompass him. His heart is too weary to feel 
the physical discomfort. As there is no bed for 
him he sleeps in two chairs with only a coat to 
protect him from the cool dampness of the night. 



THE COMMUNITY 


56 


Scene IV 

The great crisis we have reviewed cost so much 
in lives and property that it was several years 
before its results were erased. 

However, the wealth and resources of this 
nation are far too great to allow it to be crushed 
by such a blow. 

Industry soon comes back into her own. In¬ 
ventions are coming in multitudes. The Altantic 
Cable has been connecting Europe and America 
for years. Edison, that wizard of the electrical 
world, has made electricity do the work of mil¬ 
lions of hands, adding tremendously to the 
comforts and luxuries of living. Seasons of pros¬ 
perity and depression come and go. Our sister 
countries of the southern continent have one 
by one thrown off the cruel yoke of Spanish 
sovereignty and become independent republics like 
ours. One little country is still struggling under 
the hateful rule. Spain, eager to gain all she can 
from her one remaining American possession, 
goads Cuba into a rebellion—long and cruel. The 
sympathies of this country have long resented the 
cruelty which she inflicted upon the little island 
colony. Finally, the Maine, lying in the harbor 
of Manilla, is sunk and three hundred Americans 
are lost. Thinking at once that it was due to 
Spanish trickery, the people of America rose to 
a man with the cry of “War!” ringing every¬ 
where. 


Scene V 

Now opens a long season of prosperity for the 
country unbroken for more than twenty years. 
At last the thick clouds of war-torn Europe 



SOCIAL CENTER 


57 


enshroud us and the call for help is heard on this 
continent. Millions of our boys begin drilling, 
while the women knit and do the many kinds of 
work left to be done at home. • 

(Voices in the distance sing “Hail, Hail the 
Gang’s All Here.” Reader pauses while several 
soldiers in khaki march across the stage in single 
file. They should be provided, if possible, with 
guns, over-seas hats and packs. They return 
across the front of the stage in pairs. Be sure 
they march in military style. Voices in rear sing 
“Keep the Home Fires Burning.”) 

Reader continues: A year and a half of war, 
then— 

Scene VI 

(One or two songs popular at the time of the 
return of the soldiers “Hello Home” etc., and 
some good patriotic song, then read last para¬ 
graph.) 

The League of Nations establishing world wide 
peace and negotiations of differences failed—but 
the great heart of America is still throbbing with 
hope that such an institution doing away with war 
and all its cruelty will soon be established. 

(Let the songs be sung first and then the last 
paragraph read before last scene opens.) 

Scene VII 

At the close of the last scene piano plays 
“Ain’t We Got Fun,” or some very optimistic 
air. If only a few of the characters have had to 
“double,” a grand finale at the end, with tableau 
lights would be effective. 



58 


THE COMMUNITY 


Directions for Scenes 
Scene I 

Stage is set for a ball at the Mt. Vernon. 

A number of persons dressed in costumes of 
the Revolutionary period enter; some introduc¬ 
tions are made. Enter George Washington, Alex¬ 
ander Hamilton, and Thomas Jefferson. Intro¬ 
ductions are repeated. A few seconds are spent 
chatting, then the gentlemen choose partners and 
the dance begins. Use the “Virginia Reel” or 
some other dance of the colonial period. After 
the dance is over the ladies pass off the stage 
followed by most of the gentlemen. Washington, 
Hamilton and Jefferson linger on the stage, where 
the following conversation takes place. 

George Washington: “Now that Cornwallis 
has surrendered, I hope we will soon be able to 
establish government for the colonies on a sound 
footing.” 

Alexander Hamilton: “Indeed, so do I. Let 
us hope that we shall be able to find a system of 
paying off our obligations without impoverishing 
our people.” 

Thomas Jefferson: “Surely that will not be 
hard with so noble a financier as yourself in view* 
as the head of our Treasury Department.” (Both 
Washington and Jefferson put hands on Hamil¬ 
ton’s shoulder and all pass out.) Curtain. 

Scene II 

Set stage for 1812. Soldiers encampment. 
Show General Harrison reading the message 
from Commodore Perry. He reads aloud. “We 
have met the enemy and they are ours—two ships, 



SOCIAL CENTER 


two brigs, two schooners and one sloops 

General: “This will about finish the British, I 
think. They must now recognize that the United 
States of America is no small vascillating group 
of colonies stooping to the will of the self-termed 
queen of the seas, but a great and independent 
nation deserving and demanding all the rights and 
privileges enjoyed by any nation.” Curtain. 

Scene III 

Scene of War with Mexico. General Houston 
to his soldiers: “Santa Anna has surrendered. 
Your brave cries of ‘Remember the Alamo! !* 
were too much for his weakening men. I think 
we may safely say that one more chapter has been 
written in the history of our Glorious Republic.” 

Scene IV 

Civil War Scene. Show Abraham Lincoln 
sleeping in two chairs at Grant’s camp waiting till 
morning to hear whether Lee would surrender. 
He rests in one chair and puts his feet on the 
other. Show Grant’s aides sleeping at one end of 
the room. One rolls off the rude, uncomfortable 
cot and wakens, but the care-worn and exhausted 
Lincoln in tall hat and overcoat sleeps on. After 
a few minutes Grant enters, goes up to Lincoln 
and tenderly adjusts the coat that has been thrown 
over his feet, then passes to the table and takes a 
drink of whiskey, then quietly waits for Lincoln 
to awaken. One of Lincoln’s feet falls from the 
chair; he sleeps on. After a few seconds his hand 
moves, he stirs and awakens. He rises. Grant 
walks over to him and extends his hand. 

“What news?” asks Lincoln, 



60 


THE COMMUNITY 


“None as yet,” replies Grant. “But I am ex¬ 
pecting every minute to receive an answer to my 
terms of surrender.” Lincoln bows sadly. 

Enter: An envoy, announcing General Lee. 

General Lee: “I have come to accept your 
terms of surrender.” (Starts to withdraw his 
sword from its socket.) 

Grant waves his hand, meaning for him to let 
the sword remain in its place. “I would add to 
the terms of surrender, that the officers may keep 
their side arms.” 

Lee: “And may my men keep their horses to 
work on their little farms.” 

Grant: “I will make that a part of the terms 
of peace.” 

Lee: “This will have the best possible effect 
on the army.” 

Scene V 

Scene after Spanish War. Col. Roosevelt con¬ 
ferring with President McKinley. 

President McKinley: “You have done your 
country excellent service, Roosevelt. It is my 
opinion that before many years have passed you 
will be mentioned for the Presidency.” 

“I wished only to do my duty, President 
McKinley. I shall always endeavor to do that no 
matter what office I shall occupy.” Curtain. 

Scene VI 

Scene of 1918. Two soldiers in khaki sit near 
a campfire or dugout or some situation of the 
World War. 

Enter third soldier: “Did you hear the news?” 

First two soldiers: “What news?” 



SOCIAL CENTER 


61 


Third Soldier: “General Pershing has given us 
a new slogan. It is, ‘Hell, Heaven or Hoboken 
by Christmas!’ ” 

The two soldiers jump up quickly and all three 
shout, “Hooray! Hell, Heaven or Hoboken by 
Christmas.” They pass off the stage. 

Enter: General Pershing and General Foch. 

Pershing: “So it’s all over General.” 

Foch: “Yes, thanks to your brave Americans. 
God knows where we would have been but for 
your help.” 

Scene VII 

Last scene fall of 1922. Show two or more 
farmers showing exhibits of the excellent crops 
of the year. 



62 


THE COMMUNITY 


THE ANNIVERSARY PARTY 


An interesting subject for the anniversary 
party for a large group or society is as follows: 
Have twelve different groups one for each month 
in the year if there are people having birthdays 
in each month. Have each group prepare songs 
appropriate to the month it represents. Try and 
create a great deal of enthusiasm in these songs 
so that the various months will vie with each other 
to produce the best group songs. January might 
represent the snowy season. People at this table 
would have snowballs which they would toss back 
and forth to each other as they sing their songs 
for January. One of these might be, “The Snow 
Is Falling Thick And Fast.” February would 
mention the great characters born in that month 
in their songs and their decorations would be 
mainly in patriotic colors. 

The March group might wear red paper noses 
and should perform the operation of blowing 
bubbles while singing an appropriate group song 
composed by one member of the group to the 
tune of, “I’m Forever Blowing Bubbles.” If 
possible have toy balloons flying from strings 
attached to the table. 



SOCIAL CENTER 


63 


Dunce caps are appropriate for April and songs 
to harmonize. The May group should wear bright 
colors and have many flowery decorations and 
carry May-baskets. “Voices of Spring Time” 
would be appropriate in addition to the songs of 
or yells of the particular group. 

The June group should prepare a wedding. 
They should march in and out or around the 
table to the tune of the bridal march from 
Lohengrin with all the sublimity and grace be¬ 
fitting such an occasion. One member might sing, 
“Oh Promise Me.” 

July is another patriotic month. Have one girl 
dressed as Miss Columbia and a man as Uncle 
Samuel (if this is a girls group let a girl take the 
part of Uncle Sam). Asa change from the many 
songs that have been used up to this time in the 
programs it would be appropriate to give some 
humorous prose selection. The Gettysburg Ad¬ 
dress might be rearranged so as to suit the group 
and express a great deal of humor. 

August wears bathing caps, shoes, and capes 
and carries pretty silk umbrellas. Vacation songs 
are sung, the place-cards are tiny canoes. 

The September group represents the opening of 
schools. The girls wear their hair in braids tied 
with ribbons and carry book-sacks or books and 
pencils and perhaps lunch boxes. They sing, 
“Rig-a-Jig-Jig,” “Upidee,” and other school songs 
or parodies on them which suit the group and the 
occasion. 

The October group portrays harvest and Hal¬ 
lowe’en. The witches cap and broom stick must 
be in evidence as well as one or more ghosts. 



64 


THE COMMUNITY 


Tiny paper pumpkins are used for place-cards 
and corn stalks and ears of corn stuck up in bowls 
decorate the tables. (The stalks may be pinned 
on the part of the table cloth which hangs down). 
Harvest and group songs should be sung. 

November is represented by Puritan costumes. 
The place-cards are card board turkeys. The 
songs should be songs of thanks which may in¬ 
clude some humorous parodies on thankfulness 
for some things we haven’t. A parody on the 
Thanksgiving proclamation would be appropriate. 

December of course represents the Christmas 
season and should include Santa Claus with his 
pack. A Christmas tree forms the table decora¬ 
tion and card-board trees or Santas are used as 
place cards. One or two really good Christmas 
songs could be rendered and then one or more 
clever and fitting songs of the group. 

This banquet arrangement will require at least 
forty-eight people and is meant for a much larger 
group. Two hundred or more will make it much 
more interesting. If less than forty-eight people 
are available, this idea could be carried out using 
the four seasons instead of the months. 

After all the guests are seated, January rises 
and gives her contribution to the program. The 
other months follow in turn while the food is 
served and eaten. 



SOCIAL CENTER 


65 


“THE GET ACQUAINTED 
PARTY " 

Have the room divided into different sections 
marked by the letters of the alphabet. As the 
guests arrive have each of them go to the group 
in which he belongs according to the first letter 
of his last name. As soon as all the guests have 
arrived the hostess or leader announces a contest. 
She offers a first prize to the group, every member 
of which can remember the name of every person 
in the group and a booby prize for the group 
which requires the longest. If the groups differ 
greatly in size, for instance, if the “B” group is 
three times as large as the “Y” group, “Y” should 
be required to have finished learning the names in 
less than one-third the time that the “B” group 
requires in order to win first prize. A difference 
of one or two should not be noticed, but in a great 
difference it can be taken care of in this way. 

As soon as this contest is over each guest is 
given a pencil and paper and all are required to 
be seated in their respective group and another 
contest is announced. This time a prize is offered 
for the best group song or yell written within the 
the next ten minutes. The winner is judged by 
the amount of applause when the song is ren¬ 
dered. At the end of ten minutes declare the 
contest closed and the leader in each group sees 
that writing is suspended while the groups recite 
their songs or yells in alphabetical order. 

After this, the groups are told to break up and 
mingle together and meet as many people as pos¬ 
sible and chat while the light refreshments are 
served. 



66 


THE COMMUNITY 


THE “AT HOME " 


This is a convenient plan for the social after¬ 
noon gathering of the C. E. Society or any “get 
acquainted party/’ 

Have each guest write his name on a slip of 
paper and pin it on. 

While the crowd is gathering sing a few hymns 
or popular songs according to the aim of the 
affair. 

When all are assembled arrange the guests in 
a circle. Let one person lead in breaking the 
circle, turning to his left and shake hands with 
the person next to him at the same time intro¬ 
ducing himself. He then goes to the next person 
on the left and so on until he has completed the 
circle. After he leaves the first person he has 
“become acquainted with” this person follows 
him and so on until every one has made the com¬ 
plete circle and all are forming a circle again. 
Then the games should be introduced. When this 
is used for the church “At Home” quiet games 
are preferred. 

“Poets” is a good game. Each guest is pro¬ 
vided with pencil and paper and instructed to 
write the numbers up to twenty after which he 
should place the name of the poet referred to 
. when the leader reads. 



SOCIAL CENTER 


67 


1. The poet who wrote many valuable words 
(Words-worth). 

2. The one who was very fond of out door 
sports. (Tennyson—Tennis-son) 

3. The man who could not see the “point” to 
the poems he wrote. (Milton, the blind poet.) 

4. The man who reminds you of a dark 
stream. (Riley) 

5. The one who wore his shoes too tight. 
(Bunyan) 

6. The most brilliant talker. (Whittier— 
Wittier) 

7. The domestic poet. (Homer) 

8. The poet much needed by farmers of the 
central states. (Scheller) 

9. The one who points the way to a warmer 
climate. (Southey) 

10. The fisherman poet. (Shakespeare) 

11. The man whose name forms the nucleus 
for a large amount of our advertising in our cities 
today. (Holmes) 

12. The poet that makes a roast taste better. 
(Browning) 

13. The poet who could look Lincoln straight 
in the eye. (Longfellow) 

14. The poet who made many wedding rings. 
(Goldsmith) . 

15. The one who loved to hike. (Fielding) 



THE COMMUNITY 


16. The builder poet of America. (Walt 
Mason) 

17. Which poet could stop some bad strikes 
if he were alive today? (Coleridge) 

18. Which lady poet sends you on a fool’s 
errand? (Helen Hunt Jackson) 

19. What poet would you not want to touch? 
(Burns) 

20. What poet do you name when you are 
provoked ? (Dickens) 

For a change from the quietness of the last 
game, “Drop the handkerchief” is introduced. 
The guests stand in a circle, the person who is 
“IT” runs around the outside and drops the hand¬ 
kerchief behind someone’s back. This person 
should pick up the handkerchief and chase the one 
who dropped it. If he catches him before he gets 
around to his own place again, the same person 
tries it over. If he fails to catch the one who 
dropped the handkerchief he becomes “IT.” If 
he does not find the handkerchief before the one 
who dropped it gets around to him again, the one 
who dropped it pushes him into the center of the 
circle and he is called a “Dunce.” 

After ten or fifteen minutes change to some 
other game. Do not use any game until it becomes 
stale. “Going to New Orleans”; “Going to 
Jericho”; “All Aboard,” could be used. 

Light refreshments are served in cafeteria 
style. 



SOCIAL CENTER 


THE SOCIETY DINNER DANCE 


This is intended as a plan for a dinner dance 
for a young people’s society or club. 

The society is considered as an automobile. 
Each office or division of the society is some part 
of the car, as the starter, the engine, the hub, the 
wheels, the steering wheel, the plug, gas, oil, 
lights, fenders, mud guard, crank, bolts and nuts. 
To show how this is worked out—suppose it is 
a Christian Endeavor Society. The wheels are 
the members, the crank depends upon your society 
but may be the Treasurer, the mud guard is the 
church board of trustees (who keep the society 
free from mud smirches), the steering wheel is 
the President, the engine is the whole group of 
officers represented by some particular one, say 
the Vice President, the gas is the publicity com¬ 
mittee and oil is the missionary committee, the 
Sunday School the fender, and the pastor the top 
or the lights. 

As soon as the desserts have been finished the 
president or chairman or program committee 
announces that the program will begin. He calls 
upon each part of the car in turn for a speech. 
(Note: These speeches must have been well pre¬ 
pared in advance.) 

The starter, a member of the prayer meeting 
committee speaks first, telling how C. E. first 
started and then briefly how this particular one 
started and how it starts over with the election 
of officers each year. Each speech should be full 
of wit and pep. 



70 


THE COMMUNITY 


Then the engine talks and after that the other 
parts as called upon. 

The person who gives the speech for the trus¬ 
tees tells how it may seem to the young people that 
the trustees are often too old fashioned and 
prudish but how in so doing they keep the society 
free from the “mud” of many missteps that would 
lead to criticism from persons who take the C. E. 
as an example of Christian living. 

The ,nuts tells how he holds the various parts 
of the Society or the church together. 

The lights or top tells how he lights the way 
for the Society and the fender tells how he always 
goes before the C. E. 

The program must move along rapidly so that 
the guests will not be delayed in beginning the 
dance as soon as the orchestra is ready to play. 
With the few toasts that will be given by promi¬ 
nent members of the church who have been in¬ 
vited, the program will last about an hour. 

An affair of this kind will add much life and 
interest to a Christian Endeavor Society. 



SOCIAL CENTER 


71 


THE CHRISTMAS PARTY 


For a large group of young women. 

Write the name of each girl on a slip of paper 
and put it in a box. See that each girl has drawn 
a name several days before Christmas so that she 
will have her gift ready. The girls may get some¬ 
thing useful but there must be a funny gift for 
each girl present. Tell each girl she must write 
a funny verse or appropriate little sketch of some 
kind to go with the gift. The reading of these 
verses by the recipient forms a large part of the 
entertainment. The most clownish girl is chosen 
for Santa Claus and she plays her best stunts for 
the amusement of the crowd. As each girl’s name 
is called, she must go up to the tree to receive 
her gift which she opens and shows to the audi¬ 
ence after which she reads the verse that goes 
with it and then shows her gift and again returns 
to her seat. There should be a pop-corn ball, a 
box of nuts and candy on the tree for each girl. 
These are distributed after the gifts. If the party 
is given in a home, cocoa or coffee and doughnuts 
may be served. This party is a great treat when 
well managed. 



72 


THE COMMUNITY 


UNION STATION 

Here is a suggestion for an evening’s enter¬ 
tainment where more than one room is available. 
It is especially adaptable as a church or com¬ 
munity center affair where a large number of 
young people may take part. When invited the 
guests had been informed that they were going 
on a journey. The plans for this journey were 
laid and developed as follows: 

The first room is the Union Station (give it 
whatever name is given your largest depot). 
Have chairs arranged like seats in a station. Have 
ticket office conspicuous and an organ grinder 
not far off to add naturalness and fun. Have 
children, little and big and grown-ups, or children 
dressed as grown-ups to represent hiany different 
types of people. The more variety you can give 
this the more certain you may be of giving the 
crowd a delightful and jolly surprise. At* our 
party one big girl wore her hair in pig tails tied 
with narrow red ribbon and sucking a lollypop, 
followed her “parents” around asking all sorts 
of nonsensical questions. Then there was a vamp 
with a perfect coiffeur and “complexion” and 
beauty spots. There were Jews, negroes and 
foreigners, and just before the train started a 
bride and groom came running in, followed by the 
usual crowd and plenty of rice and old shoes. 
There were also, the old maid, the farmer, the 
grandmother, the little boy with his horn and 
others. The imagination will supply as many more 
as there is material and space for. 

When quite a number of guests have arrived 
and just before the entrance of the bridal party, 



SOCIAL CENTER 


73 


the trains are announced, porters at the door 
having instructed the guests as they arrived to 
purchase tickets. This latter is obviously the busi¬ 
ness in the depot while the crowd is gathering, 
that is, after the ticket window opens. 

If the crowd is very large they separate at the 
door of the station, some taking train No. 1, some 
No. 2, and so on, but there must not be more 
trains than rooms or separate corners in one big 
room and there *must be as many “conductors” 
as there are trains. If there are several con¬ 
ductors each stops at a different room and allows 
his guests to enjoy the games that are being 
played in that room. He then goes on to the next 
and keeps this up until all the rooms have been 
visited. He stays in one room only until the in¬ 
terest of the “passengers” begins to flag. 

I will describe the trip of train No. 1. At the 
first stop, which will be named Chicago or what¬ 
ever large city is nearest, we encounter a girl who 
is handing out names on slips of paper. These 
are pinned to the backs of the passengers, after 
which much merriment results when each tries to 
look over his shoulder and read his name. Names 
of poets or philosophers may be used or names 
of electrical appliances or other articles. 

At the next station the guests were seated in 
chairs forming a circle. At the command, “All 
aboard!” each must move rapidly to the next 
chair on his right, while the “brakeman” tries to 
get a seat. If he succeeds the person without a 
chair becomes “brakeman.” The commands must 
be given very rapidly so that the passengers be¬ 
come dizzy from the circular motion. This will 



74 


THE COMMUNITY 


wear out in ten or fifteen minutes. Then the train 
moves on to the next station. 

In the next room each guest was given a piece 
of paper marked “Dance Card” and a pencil. 
They were then told that there would be three 
dances and that each must fill his card as rapidly 
as possible. When each had his dances all prom¬ 
ised the conductor announced that each dance 
would last just two minutes. Each must find his 
partner for the first dance and# sit out the dance 
with him conversing all the time on the topic 
which is to be announced by the conductor. He 
then announces the first topic. “My opinion of 
the prevailing fashions on Women,” “My Idea of 
an Ideal Husband,” and “Should Large Sums of 
Money be Spent on Inauguration ?” are good sub¬ 
jects to use. Promptly at the end of two minutes 
the guests are asked to find their partners for 
the next dance. Conductor announces the next 
topic. Other topics than those given might be 
used, of course. 

The next room is the reception hall. Here, in 
bright array, are assembled the notables of the 
community. In a school affair they should include 
the Superintendent, one or more of the trustees 
and the persons who will give special music or a 
brief address. These people are standing in line 
to receive the guests as they come in. After the 
short program, for the evening will be nearly 
over by this time, refreshments are served. As 
this was our Valentine Party, our refreshments 
consisted of ice cream and heart-shaped, and 
assorted cakes. 

Guests arriving late should be asked to enter 
any group they see fit. It is best to have the trains 



SOCIAL CENTER 


75 


start at different times so that practically all will 
get to enjoy the Union Station stunts. 

The nice thing about this sort of program is its 
adaptability. It may be curtailed or supplemented 
to suit the particular need and still serve as an 
entire evening’s entertainment. It is fine for a 
New Year’s Watch Party, Valentine Day, or 
Hallowe’en (making some variations for the 
latter, as the imagination would suggest.) 


THE RAINBOW BANQUET 

For a large crowd. 

The crowd is divided into groups as in the 
Anniversary Party. They take the names of the 
various colors of the rainbow instead of the 
month of the year. Each table is decorated with 
the particular color of the group. The hall or 
room is decorated in rainbow colored crepe paper 
or, if this cannot be obtained, strips of paper 
arranged as in the rainbow. The manager of the 
program tells the crowd that they are going on a 
journey—they are going to find the pot of gold 
at the end of the rainbow. 

A member of each group, say starting with 
blue, rises and tells in a speech of three or five 
minutes, what her color stands for. Blue for 
truth, white for purity, red for loyalty and so on. 
After each leader gives her little talk, which 
should be as spicy as her imagination will permit, 
the group gives one or more songs or yells. These 
yells are given as much for the purpose of toast¬ 
ing the prominent members of the society giving 
the banquet as to boost the particular group. 

A musical program would be an appropriate 
ending for this party, 






76 


THE COMMUNITY 


THE CIRCUS 

«sa- 


Another interesting community affair is the 
Circus. This may be used as a means of raising 
funds when an entrance charge is made or may 
be used simply as a social affair for grown-up 
young people. 

The costumes can be rented in any city of con¬ 
siderable size. Arrange the various cages as in a 
Zoo. Each person acting as one of the animals 
should learn stunts appropriate to the part he is 
to play—especially its peculiar call. 

A popcorn and peanut stand near the entrance 
furnishes peanuts and popcorn to feed the 
animals. Punch is sold at another stand. Here, 
again the fortune teller is a necessary figure. The 
human skeleton, the fat lady, the camera man and 
the organ grinder are appropriate. 

After all the guests have arrived and have had 
time to view the animals, see the fortune teller 
and all the other characters featured, the crowd 
is called to attention for the program. This is as 
follows: 

Demonstration of the elephant as a draft 
animal. 

(Have the load to be drawn look very heavy but 
composed of cardboard boxes or something very 
light.) 

A jungle serenade. (Calls of all the animals 
represented in chorus.) 



SOCIAL CENTER 


77 


Sea-lions playing ball. 

A horse race. 

Race between the hare and the tortoise. 

Light refreshments are now served. After this, 
games or dancing may be used to complete the 
evening’s entertainment. 


PLAN FOR A SCHOOL FAIR 

Announce to the children soon after school 
begins that you plan to hold a school fair this 
year if the children think they would like it. It 
will be something original in the way of fairs, 
tell them. There will be opportunities for every¬ 
one who will work for it to win one or more 
prizes. 

First, second and third prizes will be given on 
practically everything entered in the exhibit. 

The older girls may compete for prizes on the 
best apron or nightgown, cakes, bread, rolls, and 
cookies; the younger girls on the best quilt block, 
doll’s dress, or corn husk dollie. 

The boys may compete for prizes on peck and 
half-bushel measures, bird houses, chicken coops, 
and mechanical toys. 

Both boys and girls may compete for prizes on 
the best collections* of garden seeds, weed seeds, 
garden vegetables, and for the best selection of 
ten seed potatoes and ten ears of seed corn; also 
for the best drawing and the best school song. 



78 


THE COMMUNITY 


Work up the interest in the fair from the time 
school starts till October, when the fair is held. 
Much of the success of the fair depends upon the 
interest that can be created on the part of the 
pupils early in the school term. Just before the 
fair is to be held, let the pupils who are doing 
hand work cut out of the colored paper and paste 
on pieces of card-board red and yellow maple 
leaves or pumpkins. Let the language classes 
write invitations on these to each patron or family 
in the district. Do not omit spinsters and 
bachelors, if there are any. 

The prize money can be raised from booths 
which are located in different parts of the room 
where sandwiches, cake and coffee are sold; or 
it can be raised at some social event later in the 
year. The first time I held this kind of fair I paid 
the prizes out of my own pocket and felt more 
than repaid in the friendly response which the 
fair created. The next time, however, both par¬ 
ents and children insisted that the money should 
be raised in some other way so we used the booth 
system mentioned above. At the request of 
several patrons the latter one was held in the 
evening. The “eats” sold netted eleven dollars 
above the expenses of the fair. 



SOCIAL CENTER 


79 


GIVING A MARDI GRAS 

A young Women’s Guild composed of about 
fifteen young ladies gave the following sociable 
with great success: 

Booths were arranged in every available corner 
of the room. Each opened promptly at eight 
o’clock. At one the guest had his fortune told, at 
the next his photo was taken, at another he saw 
the fat lady, at still another he shot at the nigger 
baby, at one he witnessed a well-filled zoo, at 
another he purchased candy, while at the last he 
quenched his merriment or horror, as the case 
happened to be, with delicious punch. 

Much care was used in arranging the booths 
so as to have the guests pass enthusiastically from 
one to the other with ever increasing curiosity 
and merriment. 

“Shoot the Nigger Baby,” came first. Horns 
and small whistles were given as prizes. They 
furnished much noise and merriment. 

Next came the zoo. It is surprising to learn 
what very realistic animals can be made of an 
old fur, a muff or two and a chinchilla cap; what 
a life-like rooster and parrot can be made from 
a feather hat, a few quills and some old chicken 
feathers; and what a terrible scorpion results 
when a long, slender piece of silk, like an um¬ 
brella cover is stuffed, given bead eyes and wound 
with wire! 

Next came the photograph gallery where you 
“got your picture while you waited.” Many 
ridiculous pictures had been cut from the papers 



80 


THE COMMUNITY 


and mounted on cardboard for this purpose. Care 
was used in giving an “appropriate” one to each 
guest. If the applicant was a stout lady she re¬ 
ceived a very tall willowy photograph because 
“we aim to please.” A short man receives a tall 
photo, the fun maker getting the picture of a 
grouch, etc. 

The, fat lady stood beside “Tom Thumb,” her 
husband (i. e. an immense boy doll loaned us for 
the occasion.) She whittled a stick with a large 
butcher knife, and to every new crowd that 
entered she gave these valuable words of advice 
as advertised on the placard v outside, “Advice 
worth $1,000;” “Always whittle from you, and 
you will never cut you.” 

The fortune teller had fortunes prepared in 
advance. She had several especially fitting ones 
arranged for the well known members of the 
crowd. This always creates much laughter if well 
handled. 

Then came the Murder in Chinatown. (De¬ 
scribed on page 11.) 

Next is the candy booth. Home-made candy 
was donated for this booth. Popcorn and dough¬ 
nuts would also be very appropriate in two more 
booths if space and attendants are available. 

Next booth sold scores of glasses of punch. 

Promptly at nine o’clock the audience was 
called to attention and seated for the program. 
While the clown at the stage held their attention 
for a moment, several at the back threw yards 
and yards of serpentine completely embracing the 
audience. This was caught up at intervals by wires 



SOCIAL CENTER 


81 


which had been put up across the room for this 
purpose. 

After the merriment subsides, the first number 
on the program is called: 

“Selections by Susie’s Kitchen Band.” This 
number lasted ten to fifteen minutes. (Described 
on page 9) 

“Answering an Add for a Servant” was the 
next number. (See page 47) 

“A reading.” 

“A song.” By the best singer who could be 
gotten to help. 

“The Art of a Noted Magician.” Some person 
is disguised and performs several stunts such as, 
going through the broomstick, untying the knots 
in a handkerchief, etc. If well done this will 
create much laughter. He then announces that he 
will thread a package of needles in his stomach. 
He opens his mouth to show the audience that his 
mouth is empty; shows the package of needles 
that are not threaded; lets the package of threaded 
ones slip from his sleeve into his hand, unseen by 
the audience, puts this package in his mouth, 
slipping the other in his pocket or up his sleeve. 
After a few minutes he takes the thread, supposed 
to be the one that he put into his mouth without 
needles, which he shows audience, pulls it out and 
shows the string of needles, which the peristaltic 
movement of his stomach helped him thread. 

One girl leads the audience in a short, snappy 
period of community singing and it is time to 
go home, 



82 


THE COMMUNITY 


THE PAGEANT OF DANCES 


This program may be used at any time but 
because of the patriotic and Indian numbers in¬ 
cluded it is especially appropriate for a quiet cele¬ 
bration of the Fourth of July. 

Special instruction and perhaps talent is re¬ 
quired for the proper production of some of these 
numbers. 


Part I 

Music by the orchestra. (While late comers 
enter; 15 minutes). Patriotic, classic, and rag 
time. 

(b) Two or three solo dances. 

To include such numbers as “Morning,” 
“Springtime/’ Spanish Folk Dance, etc. 

(c) Solo by a small girl or boy. 


Part II 

(a) The dance of Miss Columbia and Uncle 
Samuel. 

(b) The Indian Snake Dance. 

(c) A patriotic song or solo. 



SOCIAL CENTER 


83 


Part III 

(a) The Nurse Maids’ Drill. 

(b) The two best dance numbers to be given 
by young people of the teen age. 

(c) A violin solo. 

If the group leader is unable to obtain any of 
these numbers, let her write the author of this 
book. 

The Indian Snake Dance requires eight to six- 
leen girls and boys from twelve years up all 
dressed in Indian or girl scout costume. 

This program should not be attempted in the 
country or a small town where there is no in¬ 
structor in dancing. It could, however, be varied 
with folk dances and special numbers other than 
dancing so as to be used in rural communities. 



84 


THE COMMUNITY 


A MONEY GETTER 


As a money getter the old fashioned box social 
has no equal. The boxes prepared by the ladies 
are auctioned off. There is no expense connected 
with either the preparation or the sale of refresh¬ 
ments. All is clear gain. Besides the amounts 
collected are usually larger per capita than from 
any other form of social function where money 
is raised. Due to the rivalry for certain boxes 
which they think belong to their particular friends, 
the young men frequently spend two or three 
dollars for a box. No one would think of charging 
a dollar or a dollar and a half admission to a 
program, or other kind of sociable. Of course, a 
program should be given before the boxes are 
sold and it should be brimful of pep and humor. 
The program suggested below can be made up 
from material found in this book. 

I 

Community singing—led by the teacher or any 
good leader. (It is a very good idea to get the 
audience “warmed up” by their own efforts. 
Every community program should embody a 
few songs in which everyone may take part.) 
Ten or fifteen minutes should be given to this. 

II 

Recitations: 

Johnny’s History Lesson. 

The Moo Cow Moo. 




SOCIAL CENTER 


85 


III 


Song: 

Wouldn’t You Have to Laugh? 


IV 


Dialogue: 

Answering an Advertisement for a Servant. 


V 

Song: 

Upside Down. 

It is not wise to make the program too long as 
the children become tired and the audience begins 
to lose interest. However, if a slightly longer pro¬ 
gram is desired, “The Rose Drill” may well be 
placed just before the last number. A medium- 
length, snappy program takes much better at the 
box social than a long one. 

There are several ways of varying this kind 
of social. Sometimes neckties are auctioned off 
instead of the gaily trimmed boxes. The men try 
to buy the necktie that will match that of some 
girl with whom he wishes to eat. Sometimes 
aprons and occasionally handkerchiefs are sold 
instead of the boxes. In any of these cases two 
ties, aprons, or handkerchiefs are made just alike, 
the lady keeping one (out of sight) and the man 
buying the other. 

Another way, is to put up a white sheet behind 
which the ladies stand, disguising their outlines 
as much as possible, and auction off the shadow. 

My observation of a dozen or more of such 
functions, however, has shown that in nearly 
every case the fancy boxes sell better than any 
of these other things. 



86 


THE COMMUNITY 


UPSIDE-DOWN 


An even number of boys, and girls is needed 
for this song. Six or more should take part. 
Have children dress arms and hands with stock¬ 
ings and shoes. A curtain is stretched across the 
front of the stage so as to reach the breast of the 
tallest and the chin of the shortest child. Have 
the tallest stand in the center so that the heads 
and hands of the children when raised form a 
curve which represents the curve of the earth’s 
surface. As each chorus is sung every child 
stoops and raises his hands above the curtain. 
Heels should be toward the audience and this 
change should be made very quickly. The 
“Hurrah” after the first verse should be shouted 
just as the hands go up. As hands go up after 
second verse each child crosses the toe of the 
child next to him, and then all toes wiggle slightly 
up and down with a slow rocking motion. In 
third chorus children should “kick” vigorously 
with a straight upward and downward motion. 
As the children leave the stage let them sing 
forth chorus half of them standing upright and 
half of them with the “feet” showing above the 
curtain. 

Song 

All the world turns round boys 
When we’re on the ground boys, 

Other folks upon this globe 
Are on their heads you see. 



UPSIDE DOWN 



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THE COMMUNITY 


When the moon comes near boys, 

We’ll all give a cheer boys, 

We’re as happy upside down 
As ever we could be. 

(Shout) HURRAH! 

Chorus 

Upside down we go folks 
Boys and girls are we, 

But when the world turns half way round, 
We’ll all upright be. 

II 

All the world is loco 
Standing on our coco, 

Half the time we’re hanging down 
Into eternity. 

When our side is level 
Europe’s on the bevel 
That is what we learn at school 
In our geography. 

Chorus 

Upside down we go girls 
Cross your partner’s toe 
For half the time we’re upside down 
And that’s all we know. 

III 

All the world is crazy 
Half of us are lazy, 

Some are working on their heads, 

Some sleeping on their feet 
When the sun comes out, boys 
Give a joyful shout boys 
We’re as happy upside down 
As standing on our feet. 



SOCIAL CENTER 


Chorus 

Upside down we go boys 
Kicking as you see 
But when the sun comes out again 
We’ll upright be. 

IV 

People down in Haiti, 

Cuba and Jamaica 
Wear umbrellas on their heads 
And nothing on their feet; 
Always hot in Chile 
And in old Manilla 
Men are brown and fishes fly 
In Queensland so we read. 

Chorus 

Off to bed we go boys 
All mixed up are we 
But if these puzzles you’ll explain 
We’ll all wait and see. 



WOULDN’T YOU HAVE TO 
LAUGH? 

This song requires at least five girls (men 
could take the parts if desired, or it could be han¬ 
dled by a mixed group just as well). The girls 
dress in costumes of varying dates beginning with 
the Revolutionary period and extending down to 
the present time which should be typified by the 



90 


THE COMMUNITY 


most extreme style obtainable; in fact, all the 
costumes should employ the extremes of the 
periods they represent. The very wide hoop skirt, 
the long slender pantalets, the very tight hobble, 
and the very clinging and split sheath gown 
should be in evidence as should also the very 
flaring bell skirt and the long trail. The flapper 
should wear her hiking costume and bobbed hair. 
Have the girls dress their hair or wear hats appro¬ 
priate to the times they represent. They march 
onto the stage as the prelude is played going in 
the order of the periods represented. 

When the first words “We’d really” are sung 
each in unison points right forefinger to his 
breast; when “you mortals” is sung all point to 
the audience (no definite person). Do this every 
time “us,” “we” and “you” are sung except in 
the first, second, fourth, lines and the remainder 
of the chorus. Spread arms at the end of first 
verse to indicate the singers. When “Mice!” in 
third verse is reached girls grab their skirts and 
jump back. The word is screamed rather than 
sung. 



SOCIAL CENTER 


91 


wouldn't you HAve to Laugh ? 


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*he un-coothtrAlnesjoucfeMon-sti^rtei^CeVre^y {n-C it-a--fc Ion. 


We hopethatwdll notTPoUteyounineBythit plain ex-plcin-a-tion. 



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The ve-r*y in-Con- g ru-ousth In&you s*Jj They hap-pentoyoU 
and me bath etr>y day^ Wouldn't you hWeta/3M$h? 


Wouidhtyouhaveto )au&h? you wouldn't fre-hweti yo do 

































92 


THE COMMUNITY 


WOULDN’T YOU HAVE TO 
LAUGH? 

I 

We’d really like to show to you what foolish 
things you do 

In order we may not offend, we state we do them 
too; 

But we would like to demonstrate by simple illus¬ 
tration 

The uncouth things you indicate at every incita¬ 
tion ; 

We hope that we’ll not rouse your ire by this 
plain explanation. 

Chorus 

Wouldn’t you have to laugh? 

Wouldn’t you have to laugh? 

The very incongruous things you say 

They happen to you and me both ev’ry day; 

Wouldn’t you have to laugh? 

Wouldn’t you have to laugh? 

You wouldn’t behave as you do every day 

If you knew how ridic’lous you are every way 

Could you see yourself as some people may 

Wouldn’t you have to laugh? 

Chorus 

II 

At Jenny’s house a couple boys once called to see 
the girls 

A very pleasant time they had till father stewed 
came home; 

He brought the mattress in and laid it on the 
parlor floor, 

Said he: “This is our bedroom now, so, boys, 
there is the door.” 



SOCIAL CENTER 


93 


Carl said: “He sends us home, sweet HOME, we 
won’t come here ‘n’ more.” 

Chorus 

III 

A woman is the oddest creature ever I did see; 

A thing of little consequence upsets her dignity; 

Take notice: If someone yells, “Mice,” she’ll 
vanish in the air, 

She’ll climb upon the table, chair, in fact most 
anywhere; 

But it was not so long ago she wore rats in her 
hair. 

Chorus 

IV 

One morning our new minister called at 364 

Patricia, the new servant girl soon met him at the 
door; 

Said she: “All tradesmen, we request, to come in 
through the alley, 

Solicitors and peddlers are taboo, you’d better 
sally” 

Said he: “I’m the new min—” said she, “I’ll call 
the dog, by golly!” 

Chorus 



94 


THE COMMUNITY 


OUR MOTHERS 

Air : America The Beautiful 


I 

Oh beautiful is mother love 
That sees beyond the years 
The future of her children all 
And for each step prepares 
Oh motherhood, oh motherhood 
God shed His grace on thee 
And crown thy good with sisterhood 
From sea to shining sea. 

II 

Oh beautiful for suffering 
That sees beyond death’s pale 
The answering of a mother’s prayers 
Tho’ dangers great assail 
Oh mother dear, oh mother dear 
May God thy fears destroy 
And crown thy patient toil with joy 
And peace without alloy 



SOCIAL CENTER 


95 


III 

Oh beautiful for sacrifice 
That oft’ has been your lot 
The comforts you have gone without 
God grant they’re not forgot. 

Oh mother dear, oh mother dear 
May God thy tears erase 
Till earth is blest with heavenliness 
And beauty smiles through grace. 

IV 

Oh mother, dear, we look to you 
To be our guide through life 
Each errant one you will pursue 
And guide us through the strife 
Oh mother, dear, oh mother, dear 
God give your works far fame 
For all success that comes to us 
We give your work acclaim. 


Maude I. Wheeler„ 






















Patriotic Books 


AMERICAN HEROES FROM 
HISTORY 
By INEZ N. McFEE 
For Fifth, Sixth, and Seventh Grades 
Cloth — 262 pages — Illustrated — 75 cents 
When the “fairy-tale” period has 
passed nothing thrills the school boy or 
girl as do true stories of real heroes. 
“American Heroes from History” de¬ 
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were instrumental in building our 
great Nation so entertainingly that 
the pupils are taught history and pa¬ 
triotism while absorbed in the stories 
themselves. 

PATRIOTIC SONGS 

32 large pages — Paper — 10 cents 
Contains the words and music of 
twenty-three of . the best National 
songs of America and the Allied 
countries. There is no better way to 
teach love for one’s country than by 
the use of patriotic songs. Printed on 
good paper and well bound. This book 
should be in the hands of every boy 
and girl in the country. 


THE MAN 

WITHOUT A COUNTRY 

By EDWARD EVERETT HALE 

Cloth. 40 cents—Paper, 20 cents — 64 pages 

This book has become an American 
classic — too well known to require 
comment. 

Our edition is an excellent one, with 
introduction and notes, an account of 
how the story came to be written, 
portrait of author, and questions on 
the text. 

How many copies shall we send you? 


A. FLANAGAN COMPANY—CHICAGO 











ENTERTAIN 


LIBRARY OF CONGRESS 



0 


3 261 151 3 


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The Patriot’s Parade. A one-act play..15 

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Mirth Provoking School Room. Farce for 14 or more 

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